Workshop Wednesday

I've been working on how, exactly, the construct these next couple of parts of the story. I have an ending in mind at this point, but I want to make sure the characters believably get to that point (and I'm not just writing towards an ending that, inevitably, doesn't make sense), so it's taken me some time to find the right direction to go with this story. I finally have it, and we have the next part of the story (after only a month and a half). This is a slightly shorter part in the series, but it also has a couple of key scenes that set the stage for what's the come.

If you haven't already read the previous parts of this series, I'd recommend hitting that first before diving into this section.

Dracula: Part 6

INT: CARFAX ABBEY, FORMAL DINING ROOM, EVENING.

The meal completed, the remaining guests – ARTHUR, QUINCEY, and SEWARD, along with ABRAHAM and LUCY – with, sipping on sweet wine and chatting.

SEWARD:

So, Doctor, you were going to tell us your theory on what is causing the wasting disease.

ABRAHAM looks a tad embarrassed.

ABRAHAM:

I would... but I worry you would think me a fool, or a madman.

SEWARD:

Please. You were respected enough to be brought in by the local police to aid in their investigation. I would love to hear your theories.

ABRAHAM sets down his glass and goes into "professor" mode.

ABRAHAM:

Well, as I noted before, I have a fascination with the occult. Some might call it-

LUCY:

An obsession.

ABRAHAM pats her hand.

ABRAHAM:

Yes, thank you, daughter. So I have studied many stories over the years. Tales and legends of creatures that could drain the blood from their victims, that used this blood to prolong their own lives and, as the tales go, live forever. They are call the vampyr.

ARTHUR:

Vampyr, why does that-

QUINCEY lets out a laugh.

QUICNEY:

Vampires?! You think there are vampires in old London town?

ABRAHAM has the decency to look embarrassed once more.

ABRAHAM:

I wouldn't say actual vampires. There's always a note of truth in any of the myths of the fantastic. You but need to dig deeply enough to find the scientific logic beneath. I do think the blood is being drained somehow, and that there is someone, not just a disease, behind this. I would classify them as attacks, certainly.

QUICNEY:

But vampires? Seriously not.

SEWARD:

What is a vampire? Someone that drains the blood from their victims. Considering the killings we saw in recent years, is it so much to think someone, some sad person with a sick and twisted mind, would be unable to perform an act of exsanguination.

ABRAHAM:

Indeed. And that is my supposition. I have found nothing to lend credence to the idea of actual creatures of the undead-

SFX: Furious dog barking.

At this moment, the two Hounds of Dracula come barreling through the dinning room, causing quite a ruckus. JONATHAN gives chase after them, trying to bring the beasts to hell. They all exit the room as quickly as they entered.

ABRAHAM looks confused for a second.

ABRAHAM:

What was I saying?

SEWARD:

No evidence of the existence of actual undead.

QUINCEY:

Thank God, otherwise I would have to call you a madman.

ABRAHAM:

Yes... Wasn't that JONATHAN? MINA's fiance?

LUCY nods and gives a little sigh.

LUCY:

Yes. He still works for the Count. I think he mostly hangs around to be close to MINA. He's here all the time.

ABRAHAM:

Odd... Anyway, yes. If I had to guess, this "disease" is the work of an individual.

EXT: LONDON STREETS, NIGHT.

We see DRACULA and MINA walking the streets, arm in arm. ABRAHAM continues talking in voice over.

ABRAHAM (V.O.):

In my estimation they at least view themselves as highly intelligent, powerful, in a way. They view themselves as above humanity, or at least certainly above their victims.

INT: LONDON STREETS, BROTHEL, NIGHT.

DRACULA and MINA enter a "house of ill repute". MINA stands off to the side, pretending to be bashful, while Dracula walks over to the proprietress. They have a conversation (that we don't hear) and then she waves over two younger looking women, and all four – DRACULA, MINA, and the two women – wander off to a private room. ABRAHAM continues.

ABRAHAM (V.O.):

The blood letting is curious, certainly, but there are any number of reasons I could think of. It could be for the thrill of the act, something disturbing and grotesque that they find fascinating. Or perhaps they are someone with medical training, who could be doing the act in some perverse thought that they're helping them.

INT: CARFAX ABBEY, FORMAL DINING ROOM, EVENING.

SEWARD:

Medical training? What makes you say that.

ABRAHAM:

A possibility. The wounds I've seen, the sites of the draining, all happen along major arteries so the blood can be harvested fresh and quickly. Your average brute wouldn't know how to strike with such precision.

SEWARD:

Interesting...

INT: LONDON STREETS, BROTHEL BEDROOM, NIGHT.

DRACULA lounges in a chair, watching the two women, who are already mostly naked, kissing each other, and MINA, as they slowly undress her, too. Then all three fall to the bed, to enjoy each others' further ministrations, with MINA maintaining eye contact with DRACULA. ABRAHAM continues.

ABRAHAM (V.O.):

I cannot discount an occult angle, either, and by that I mean that there are people who worship dark forces, like Satan or whatever demon you want to list. They're insane, of course, but that doesn't stop people from performing heinous acts in the name of some being that doesn't exist. Whatever their reasoning, there's a clear thought of domination, of owning the person and stealing from them their power, their very life essence.

SEWARD (V.O.):

He kills them as an act of control.

ABRAHAM (V.O.):

Indeed. If this were a predator, I'd almost liken it to them playing with their food. The act takes time to perform, for the person to savor their actions, to watch the person slowly die while they get... well, it's all an act of enjoyment.

INT: CARFAX ABBEY, FORMAL DINING ROOM, EVENING.

All of the dinner guests look awkward for a moment. Then LUCY coughs.

QUINCEY:

Oh, my, this is no conversation to have in front of a lady.

LUCY:

QUINCEY, I've heard worse tales from my father my whole life. It's ghastly, but then so are all the tales of terror I used to hear from him. Ghouls and ghasts and witches and lycanthropes and, yes, vampires.

ABRAHAM:

You used to love those stories.

LUCY:

MINA used to love those stories.

ABRAHAM:

Ah, yes.

ARTHUR:

Well our lovely hostess may be used to these tales, but I find them...

ARTHUR shudders. He reaches for a the wine bottle and finds it empty.

ARTHUR:

Dreadful.

SEWARD:

The theory is a bit gruesome.

ARTHUR looks up from his empty wine glass.

ARTHUR:

Oh yes, that's dreadful too. But we're out of wine!

ARTHUR stands.

ARTHUR:

QUINCEY, JOHN, shall we let these two catch up while we go out into the night and find some more alcohol.

QUINCEY:

Well, I mean-

ARTHUR:

I'm buying.

QUINCEY:

Let us away!

The three men barge out, laughing, leaving just ABRAHAM and LUCY.

ABRAHAM:

This has been a wonderful evening.

LUCY sighs.

LUCY:

Oh, father... But I am tired. I have a guest room made up for you. Would you like to stay tonight?

ABRAHAM:

I'd be delighted.

LUCY stands and directs her father up the back stairs into the guest wing.

INT: LONDON STREETS, BROTHEL BEDROOM, NIGHT.

The two girls lay sated on the bed, while MINA lazily plays one finger along one of the ladies' shoulders. She meets DRACULA's gaze and blushes.

DRACULA:

You seem pleased with yourself.

MINA:

I've never been with a woman before. It was...

DRACULA:

Enjoyable.

MINA:

Yes.

DRACULA:

Because you saw into their minds.

MINA:

I-

DRACULA:

I saw with your eyes, felt with your mind, blood of my blood. I know you could feel the edges of their minds, that you felt their enjoyment.

MINA:

...yes.

DRACULA rises, comes over, and lounges on the bed. One of the ladies makes room for him. He then leans over, putting his hand along MINA's face, leaning in as if for a kiss.

DRACULA:

The sensations, of feeding off the sexual energy of a lover, can be intoxicating.

MINA is breathing heavy. She nods. But the DRACULA grabs her hair, pulling her head to the side, painfully.

DRACULA:

But they still live!

MINA:

I didn't-

DRACULA:

You didn't kill. They are prey and yet you let them live.

MINA:

I'm not hungry.

DRACULA:

No, your humans have made you weak. When I made you, you were a killer. But now you not only let your flock live, you won't even kill these meaningless humans.

Both of the girls are awake now, and they look scared. But then DRACULA touches them each on the face (without looking at them), they both passively fall back against the bed. MINA gets up on her elbows, tries to back away from DRACULA, but he grabs her around the waist and pulls her back down.

DRACULA:

You disappoint me.

MINA looks scared, but then she gets mad.

MINA:

No. I left JONATHAN because I wasn't going to be just his little wife, and I'm not going to just be a bride to you. I make my own decisions and I don't want to kill these two.

DRACULA reaches back swinging his hand in to slap her, but MINA grabs it and forces it back. She pushes him off, throwing him across the room, then flies at him teeth bared. We get a vampire fight from here as the two of them fly around the room, bouncing off walls and the ceiling, slashing at each other with their suddenly claw-like hands, trying to bite at each other as if they were cats. Eventually then both end up on the floor, exhausted and bloody.

MINA stands, a blood drenched, naked war-goddess, and looks down at DRACULA.

MINA:

Now, I feed.

And with that she slumps onto the bed, over top of one of the girls. She throws her head back, teeth bared, and plunges her teeth into the girl's side, messily feeding. The girl starts whimpering, then crying out in pain, but MINA reaches over and breaks the girl's neck, still feeding.

DRACULA stands, and leans in as if to feed as well on the other woman (who is still alive and passed out), but MINA looks up, one hand raised in warning.

MINA:

Get your own.

DRACULA nods, then saunters off to the door, his clothing bloody and torn but still the presence of regal authority. MINA looks up from feeding.

MINA:

And, Master-

DRACULA looks over.

MINA:

Never question me again.

FADE OUT.

End of Part 6:

This section acts like an extension of the previous part as we follow Dracula and Mina out for their "business". This part is key because there really have been two sides to Mina: the killer and the lover. I think its important to show both sides exist, and how the come out. She's a vampire, but also a bit of a succubus in a way, and she doesn't necessarily need to kill to live. Dracula feels differently.

How this dynamic plays out, and what it means for Mina, will be the focus of her character over the next sections as we head towards the ending. There's probably only four more sections to go (so long as I can keep the motivation going to write them).